My Life — Volume 1 by Richard Wagner
page 312 of 712 (43%)
page 312 of 712 (43%)
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Columbus Overture, the work composed in my early days at
Magdeburg. I adopted the latter course. When I went to fetch the score of this composition from Ilabeneck, who had it stored among the archives of the Conservatoire, he warned me somewhat dryly, though not without kindness, of the danger of presenting this work to the Parisian public, as, to use his own words, it was too 'vague.' One great objection was the difficulty of finding capable musicians for the six cornets required, as the music for this instrument, so skilfully played in Germany, could hardly, if ever, be satisfactorily executed in Paris. Herr Schlitz, the corrector of my 'Suites' for Cornet a piston, offered his assistance. I was compelled to reduce my six cornets to four, and he told me that only two of these could be relied on. As a matter of fact, the attempts made at the rehearsal to produce those very passages on which the effect of my work chiefly depended were very discouraging. Not once were the soft high notes played but they were flat or altogether wrong. In addition to this, as I was not going to be allowed to conduct the work myself, I had to rely upon a conductor who, as I was well aware, had fully convinced himself that my composition was the most utter rubbish--an opinion that seemed to be shared by the whole orchestra. Berlioz, who was present at the rehearsal, remained silent throughout. He gave me no encouragement, though he did not dissuade me. He merely said afterwards, with a weary smile, 'that it was very difficult to get on in Paris.' On the night of the performance (4th February 1841) the audience, |
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